HOMM2 music diaries – June-July 2014

So last may i posted on EAB forum proposing myself as MOD musician. Got two gigs: one from the gut who create downfall for its dizzy-like game and little later was asked by Philippe “Meynaf” Guichardon to port the music of Heroes of Might and Magic II in MOD files for its Amiga Port of the game.

And is on the second task that i want to focus on this article and possibly some future ones.

Tough nut to crack! The soundtrack is composed of over 20 tracks, the music is done on pc either via Midi with custom instruments or via CD tracks, in some cases in the “price of destiny” expansion pack there are singed parts (in german) so i know will never be the same as the original PC one, but who am i to defuse an impossible challenge?


Looking at the context and some of the music, plus the fact that the porter do not want to mix channels (processor intensive), i realized i can build some of the mods in a way that three channels carry the main melody and the fourth is of support and can be overridden by speech or sound effects.

As reference i took this youtube playlist of the CD tracks, and that is mostly the kind of feeling I want the mod files to have.

As mentioned in other articles, i actually have no real Amiga handy where to compose the score, however my actual favourite weapon, MilkyTracker on Win XP, has been put to the test for writing .mod files and feedback has been positive.

Another thing is that since there are some songs (i.e.combat 1) that have a recurring background, i could sample it and use it on the mod file. the “Combat” scream on combat 1 could be replaced with a generic crowd cheer (whoah) .


Before to leave i started to port lurking enemy (the enemy turn song) and had some problems both for its basses and for the motion of the song; i repromised to give it a second look or to rewrite as mixed version.

The day earlier instead i tried to port the grassland theme; so all possible problems with Milky showed up – which from the other side is good so i have an idea of the workflow i could employ; first the four version sound kinda flat (midi can rely on being projected in two channels) plus the lack of faithful instrument brought me to look on my mod bank for similar sounds. Redo a tune is harder than come out with your own: especially in a limited environment as Paula might be, plus memory contraints and the fourth voice as wildcard. But that is what makes it so compelling: being able to reach good results in a limited environment 🙂



I tried several combinations of instruments for Grassland, mostly coming from digging through instrument free data banks; a decent cello in the background is hard to find and for clavicembalo sounds I resorted taking it from a tune of The Weasel, however the high tune clavicembalo sound kinda weird;

[WIP] H.O.M.M. grassland tune Test G from simone bernacchia on Vimeo.

That made me look for better clavicembalo (harpsichord) samples; the ones i found comes from collections around the net: very good this Harpsichord sample bank  from a 1720 Blanchet and this Oboe sound from freeloops.com; those two instruments helped me in give a more realistic sound;

[WIP] H.O.M.M. grassland tune Test I from simone bernacchia on Vimeo.

Result is pretty impressive: might not have all the sounds of the original but has its own depth 🙂

The research for more realistic sounds brought me quite around on the net, looking mostly for .wav files until i started stumble in more professional sites that provided soundfonts; this format is used for most professional tools and usually provide a good instrument quality, however is not directly “consumable” by milky or other trackers: a tool to export in .wav file format is needed.

Looking more around i found an open source .sf2 to wav converter for Windows at this address: http://sanfransys.com/main_downloads.htm; what it does is to split all audio files composing the soundfont and exporting them in .wav file on a folder.

Then the sample is passed through Audacity, where is flattened to Mono and saved in .wav 8-bit (save -> other uncompressed format -> .Wav (microsoft) 8-bit) then loaded in milky and “resampled” to match the protracker range of sound going in the Sample Editor [smp ed.] and choosing ‘advanced->resample’ from the right click menu.


Once in the option requester, setr the “relative tone” and “fine tune” values to 0, select “Precise sinc” on the Interpolation dropdown option and click OK.



At this point i usually save the instrument in .xi format from the [save] button on the top of the instruments list. Range used by protracker mods is between C-3 to B-5 according to milky scale. If higher or lower octaves are needed i usually load a copy of the instrument in another slot, go in the instrument editor [Ins. Ed.], press octave up or octave down at need then go in the sample editor and again use resample putting to 0 the values to render the sample.


Plus since, unlike the good old protracker, there is no chord and no merge samples feature, sometimes i need to “render” in .wav using an empty mod the chords and composed samples and do on the rendered track the flat/8-bit/resample loop again.


Being a Bedroom Musician in the Tracker Age


Writing music in .mod format has been a part of my artistic expression since long time; while not musically trained in the canonical way -beside some of the typical flute lessons and the basics of note reading in middle school; when in 1983 i bought my first computer, a ZX Spectrum, the sound was driven by a beeper built-in inside and was able to do just a note at the time of pitch and length decided by a BASIC instruction; so not too much field for tune making there, at least until the first advanced music routines appeared, and were published on RUN, an italian cassette driven magazine; that made me experiment with some pieces (tried to redo the hang-on theme) but that was it. Then in 1988 i bought my Amiga 500 and finally got my hands in some music software: at first Sonix, where i did learn the ropes on basic music making, then in 1989 a mostly unknown tracker from LinEL, called SoundFX, where instead i did learn the basics of tracking.

Around the same time was introduced ot music rippers, but since did  not knew about mod files, i mainly used those programs to get sound samples and then re-use it in SoundFX after converting them in 8SVX format; little later got introduced to Noisetracker, a soundtracker free clone – but able to work with non-original ST disks, as the original Ultimate Soundtracker, if i remember correctly, used a ST-XX volume name system for sample disks that prevented to read from other sample disks;  Noisetracker worked that around by just the need to use a ST-00 volume, not even always the same disk, just same name.

As for finally getting in “the field”, as i said in the Powder Diaries, got in touch with Thomas and Filippo in doing graphics and music for Quazar, and then also for Nicola under the Nike name;  those were simple songs, with most of the instruments coming from the ripped mods or from “RAM scanning” after a reset with Audiomaster.

The involvement with Quazar and the Powder game made me deal with the problems of providing a good audio experience with little memory space; the songs in Powder, excluded the main theme, had a set limit of 75k, that luckilly reached rarely; other projects, such as the ARZENAL utility disk, were having a much smaller footprint (guess not even 2k) and so complex instruments were not an option; however in 1989 i stumbled on a intro that was using what i used to call “micro instruments”; that was the easiest way some people found to do chiptunes using soundtracker: using very little chunks of samples is possible to obtain pretty pure waveforms and small size drums; did some experiments with it but none of those were published.


Music: Amadeus (cover) – 1993 from simone bernacchia on Vimeo.

This music uses microsamples to obtain chiptune effect.


Had also occasion, together with Marco Maltese, to do soundtracks for its CGI animations, including a local TV program opening, three local TV advertisings and three animations ptrsented at Bit.Movie and Pixel Art Expo; plus other unfinished ones. Doing music for those is a different deal from doing it for video games and demos; since there are no big memory constraints samples can and must be the best possible, and sound need to be richer to mask the limited capabilities of Amiga hardware.

Music – Deimos (v3.2) – 1994 from simone bernacchia on Vimeo.

An example of music for a (unfinished) animation of Marco Maltese.



 Being a “lamer”

In the demoscene culture,and in particular on the tracking scene, is – or was – considered a lamer he who rip mod files ,harvest samples and reuse it in its own compositions. I was almost the only amiga user for a while in my town and for sure the only mod composer in my area: up to the half of nineties could not afford a sound sampler not to mention a CD player so all instruments I had forcefully got it through ripping; so according to your point of view and seen literally might I be considered a lamer?

Ripping modules has been, as said, both a way to replenish a starving sample bank but, also, a way to learn to use the tool: when i used see an intro or a demo or play a game and hear some nice sound effect or transition i wondered: how did they do it? Vibrato? Arpeggio? playing with pitch?

And then you find yourself in front of the file and you can see the magic going on: for a while that has been my only documentation on how to use the tracker: songs themselves; and so i did learn to use the basic effects: the arpeggio, the pitch up/down, speed, jump  and the volume; following i also learn portamento and other effects; but to learn the Protracker stuff had to wait the online documentation built in, was simply too much.

Sampling vs pure tracking

I am pretty convinced that most musically oriented people can take advantage of Paula and its four voices at the most of its capacities but, being honest, the BEST way to use paula channels is not the MOST clear; whoever analyzed mod files knows that some of the most impressive use several samples for several instrument states or play styles, and at least two or more chords (multiple note samples).

Coming from a linear music composing program like Sonix, the idea of composing music using samples of music to insert was, at least in the end of eighties, antithetic to the approach that instead Sonix was proposing, like using instrument to create melody and rythm; and having a self-learner approach to music making did not help concerning chords, that are still a bit a black beast of mine beside the usual min (C-E-G#)and max(C-E-G). the concept of using sampled pieces of base drum or a bassline or a piece of sampled melody seemed like cheating; of course with the growing in popularity of House Music and Hip-Hop things started to get a different approach but, at least for the first three-four years, there was this idea that to do music i had to try hard using instruments and effects; however, the more ran into other people mod files and try to understand their secrets, the more i got the clue that to get the best sound impressions, a mix of instruments and samples were required.



About writing music for games

I might say that my pro career as musician mostly started with powder and essentially ended with Powder; also because in the end of nineties trying to do tracker music on a power mac was close to impossible: the modplug tracker was far from operational and pretty impractical to use, at least for me. Most of the gigs – if we can call it so – were coming from Marco Maltese work in the video publishing service: i was cheaper than a licensed musician Furthermore, after the split with Maltese, that was my main provider for track requests either for its animations or external works like local TV commercials (two), had no more requests for soundtracks; from the other side, inspiration slowly faded away.

Only recently, thanks to Milkytracker on PC I restarted a bit to do some music but until now is essentially for my own leisure. Wish to compose soundtracks for some of the retro revival games around; if anybody wants me to just drop me a mail – actually got busy with a pretty (unpaid) big project so hold on it, but you can still contact me for later projects 🙂

By the way, my mod files are actually stored in the AMP site and i have encoded most of my tunes in video format so that are visible in my Vimeo profile.

The Powder Diaries – appendix – Archeological Digs

Not enough developed to be a full chapter, here i introduce a better insight on the 1991 demo.

The 1991 demo was called “M1 Prototype” on the title screen. Due to the disk error i mentioned on chapted 2, Maltese decided to redo the title screen at its own liking. The demo is using a homebrew trackloader and is known to not work on machines with os older than 2.0.

I found the disk at home when i went to Italy last may and made a DMS of it;  later last week i installed WinUAE in my laptop and tried to make it run, with little hopes being that disk already picky on my old A500 and never worked on my 1200.

Meddling a bit with settings i made it work finally!


The Prototype Demo loading screen


And the splash screen once loaded

So in this demo we have the first half of the later scrapped Sea Level and a first version of the City level. There are some playability differences with the final version such as the fact that is possible to collect energy pods to restore the ship energy (very little) and that the credit system is using thousands of units, like 500 credits for a change.

Sea has a pretty nice palette and shows the skills of  Marco Maltese at its finest as much as in Clouds; the enemy placement and strategy is interesting too.


A screenshot from Sea

Even the already known City level is different from the final one: first of all the sea flyby part is longer, then there is traffic roaming the city – as private vehicles and trucks – and some police roadblocks; plus the end of level boss is not a robot like in the final version – rather is another big helicopter. Also there were some kinda funny behaviour, liks some kamikaze Rail-A falling down the rails.

Download and Use

The demo is available as zipped DMS (DiskMasher) file; to use it in Amiga you need to unpack it using the DMS tool to create a physical disk; to use it in WinUAE or other emulators or even Minimig i guess you just transfer the .dms in the card and that’s it – don’t know about further settings.

For WinUAE i found out the settings in the following picture work for me:


I used A600 basic, with the slider compatibility set to Best Compatibility.

The demo can be downloaded from Aminet at this link.

Still in Aminet, is also the 1997 demo previewed in Amiga Format;  it contains the final version of  City and City Boss. This other one can be installed on Hard disk and can instead be downloaded at this link.

The Powder Diaries – 8 – Verkosoft to the rescue!

Verkosoft to the rescue!

It is the fall of 1997 and, for most of us, Amiga and powder are things of the past. Still Nicola and Thomas liked to tweak with the Eneditor in order to make the levels a bit tougher  – actually A LOT tougher, and sometimes taking enemies out of the original context – but i did not touch its work files since long time.

Then, all of the sudden, Filippo calls us. Thanks to the city demo We found a publisher, they say; at this point revenue and fame were no more a priority: as long as the game finally could be published everything was good.

And since we wanted to make it come out fast, we had to cut a LOT. No more space level and boss, no more factory boss, no more ruins boss, no more intro pictures – beside the Game Over and the End Game ones.
Since I did sever contact with Maltese sone times earlier , had to provide some of the missing assets like more decorations in the final level and the end graphic. Actually, I had to prepare the package box graphic and had to re-create the logo in vector graphics using freehand. The 3d image in the game package was done by me using lightwave 5 on my 1200 and rendered at 150 dpi, with extra touches in photoshop for the laser ray and little extras; I am mainly a 2d person while Maltese was the one with most experience on 3d, but this one imo came out decent enough. Some extra touch with Photoshop enhanced things better.

At the time of the final rush, however, was  providing my services as contractor to an advertising and web agency in Fano, so my exposure time was reduced. For the game testing and enemy placement remember Nicola Filippo and Thomas took the lead: due to that, they started to tweak the game difficulty to match their own skills and in some cases to misplace or change enemies destination -such as, in example, the big Fuel tank in Factory that was supposed to have an engine in front and instead became a fat ship to destroy; that also increased the difficulty level to pretty hard.

The final package of Powder, as shown in Hall of Light: more “real looking” than my pristine hi-res Jpeg 😛

The package wrap was put together in Freehand and the only text we had from the company was the payoff in the back of the box. There was also space for any copyrights and disclaimers that i left available for the publishers – that however did not noticed, thats why those two lines with the filler text “all copyrights goes here” in italian language appears in the bottom of the wrap.

The irony was that, during the nineties, i was looking at the game boxes of export Megadrive games with a deep envy for the plastic box and the colorful detailed artwork, while at the end, with time and budget contraints we ended up with a pretty crappy anonymous cardboard box too.

Published, at last!

And so in 1998 Powder came out under the Verkosoft brand, Epic Marketing in the UK.

The cuts, the difficulty problems and the age at the end shown its effect, so much that Amiga Format killed it with a 23%; other magazines were more forgiving, however is sure that when Powder came out the Amiga scene was no longer the good shooter starving market that we embraced in 1990, rather the inflaction-ridden mediocre shooter wasteland of 1998.


The Unforgiving review of Powder on Amiga Format

Other magazines were not that hard with it, like the Italian The Games Machine, that gave it an indulgent 79%, but AF review indeed marked the kiss of death for our beloved project.


The review of Powder in the italian version of The Games Machine:
thanks to Mauro Corbetta of RetroEdicola for the scan.


The Aftermath

In summer 2005, just a couple of months prior of my departure for the States, all former members of five stars met again in a restaurant in Fano,for what we called the “Powder Dinner” – at the end the earnings in the already meager end-of-nineties agonizing Amiga market were so tight that we were barely able to pay a dinner for it. Also was my last time I seen Maltese in person, with its first czech blond wife.


There we are: the Five Stars VG studio in 2005!
From the top left: Simone Bernacchia , Nicola Valentini, Filippo Carletti;
bottom: Thomas Paoloni, Marco Maltese – sorry for the bad quality of the scan.

I met the programmers again this year, in occasion of my trip to Italy; Maltese – now living in Sicily, was not present but was nice to see each other after long time! So they also had occasion to meet my wife and had a pleasant time; the main reason however was to get a leftover copy of Powder from Carletti to deliver at the president of SCCAN here in southern california, that was looking for it after i told him about my experience in doing graphics and music for the game.

Some Satisfactions, at last!

In 2009 Amiworx published a donationware CD called “Amiga Meets Piano” where, among the other popular Amiga game tracks the main theme of Powder -to my great surprise -is also featured, albeit incomplete, but this means somebody considered it good enough to be performed, and for me that is a big compliment!

In 2012 the Amiga Longplays channel featured a Powder longplay; found mostly favourable comments, especially about the soundtrack;

also on LemonAmiga the rating of 4.2 is pretty decent; plus the user the user frikilokooo Wrote:

In my opinion one of the three funniest Amiga shmups,its best feature is the addiction and its gameplay is different of the others shmups,highly recommended.The game is very underrated maybe because it came too late to the market.The graphics are unbalanced,some graphics are very good and others graphics are average,maybe by the fact that one of the two graphicians of the game is much better than the other one.The game has the best ingame music of any Amiga shmup(the best outgame music is for ProjectX though).Only a couple of glitches:no autofire,no two players mode and very unbalanced weapon system that ends using homing missiles at the end because the other weapons are worse,becoming very monotonous always the same weapon.

In 2011 I started to meditate on write down my memories on this experience, but lacked the time to do so: it was supposed to be just an episode on my blog (still in ilcannocchiale.it at the time); then a discussion about Amiga vs c64 and games design and working appeared on the forum nonsoloamiga.com, had occasion ot talk about my experience with Powder and the interest generated gave me the spark to start to write about Powder in a more expanded way.

I already started to put my songs in the AMP site and as videos on Vimeo, and the Diaries are giving me the occasion to work harder in showcasing most of my work that in my opinion need some exposure.

I would have also liked to recover the sources and try to make some kind of  “director’s cut” or maybe some other game based on the same engine; however, when i tested the work disks in my 1200 most of the floppies were giving me read error; i gave them to a friend of mine that has a catweasel-like device in the hope to recover something.

I asked Maltese about some material to show here, but he said he lost it all, since he moved several times during the last fifteen years; plus stated in a chat that he is not that affectionated to those past events and forgot most of the things happened then; however, if he or the other members of the team decides to add more particulars they can get in touch with me.

Gathering the Memories

Honestly,  most of the material i had it with me the whole time, since i tried to show it on some demo CD that i made when looking for work in Italy and abroad after got laid off by my employer in 2003, but so far never received any feedback on it;

At the end the real triggers that pushed me to publish the powder diaries were two: The nonsoloamiga discussion helped me gather in my mind most of the technical data, but the real one is likely more ego-related; having all my tests, work files, animations, unused musics rotting on the floppys in boxes on the basement at home and in some demo CD-ROMs and folders in my laptop here on the states; i treasured this material for years even in cases holding it to show on interviews due to the fact that was a project in progress; then, when the game finally was out, all the material due to technology advancement became outdated, but i always hoped that if i shown all my stuff and attempts probably the consideration of people towards me could have shifted to a different level: at the time, at least until i started to win contests, had the perception that people thought was wasting my time: even a here withheld Five Stars team member thought the same of my animations, then awards proved i was right.

So as this day, i considered Powder history however worthy to be told also as part of my youth dream and work for hopes on a better future, despite its little to no influence in the Amiga market.

At the end, were those diaries just an ego trip? Very likely, but am glad to have done my work on it and don’t regret any minute spent!

Want to get the advantage of the last rows of text to thank all the people I worked with and those who in some ways supported me either logistically or morally or that, with their mere existence, gave me ideas and reasons to go on.

Music – Powder Final Credits (1997) from simone bernacchia on Vimeo.


The Powder Diaries – 7 – The long dark tea time of the soul

All’alba Vinceroooooooh

After my partial defeat with the Delusion! the videoclip, was particularly bitter on the shortsightness of the music business – something many others had to deal with in future as we know, but that did not discourage me to continue my career: at the time i already started another project – that was able to continue to work thanks to the purchase of a side 2 megabytes RAM expansion.

The animation “N.O.L.W. – The Night Of the Living Wrecks” was presented at Pixel Art Expo in Rome and placed second; with the money i was able to buy a second hand Amiga 1200 that replaced my 500; then came, in Easter Weekend, as usual, the Bit.Movie. I remember was there in the awarding ceremony and they already assigned the third and second prize; assigning the first they started talking about “how the author re-interpreted a cult movie and give it a new meaning “, pretty convinced it was a slow boring animation I seen in the same contest to win so, when instead they announced my name was pretty surprised.

N.O.L.W. – La notte dei rottami viventi – the night of the living wrecks from simone bernacchia on Vimeo.


The prize also gave me way to expand further my machine, so I bought a hard disk (half gig, at the time pretty big), a Viper 030/42 mhz + FPU (later found out was a EC030 so no MMU drivers for me) and 16 megabytes, later brought to 32 and also a Microvitec monitor – meant that the times to draw animation on TV were over for me.

The long dark tea time of the soul

At some point money for studies ran out and I found myself working as ad spreader – those people who put junk mail in your mailboxes: was one of them, and did that job for little more than one year while looking for a job in my field.

That also lead me to take a country funded course in office automation so that I would have been able to work in a office. Thanks to shapeshifter, was able to do my homework on my Amiga on Word and Excel and, when had the time, was studying on my own how to do DTP and graphic design, trying to recover my high school know-how and a more traditional track; the fact that was working on Amiga rather than on P C or Mac (despite Mac emulation) was not helpful either: DTP people were almost exclusively a Mac shop and also pretty proud of it: for them my emulated mac was some kind of travesty.

Was working together occasionally with Maltese in doing soundtracks for commercials and some of its – if i can call it this way – failed experiments too; was also teaching myself HTML using some booklets bought in a local bookstore; at the time things were much simpler than now and having a Netscape install and a text editor was enough.

Music – Deimos (v3.2) – 1994 from simone bernacchia on Vimeo.

One of the themes for a never-finished project of Maltese – since there were no memory constraints those musics were more rich in audio samples and effects

As musician also worked with the main organizer of Pixel Art Expo in doing the soundtrack for its animation – made on imagine PC and VLab Motion – for Imagina, called DevilBalls; even if at the end was not qualified to participate i still consider it an interesting experience, with him sending me the tape of the animation and me creating the music and adapting it to the flow; normally in traditional animation the music comes first and animation adapts to its flows but CGI made the roles get reversed in this case.

Music – DevilBalls (1997) from simone bernacchia on Vimeo.

Together with the same guy and an italian-british AMOS programmer i also worked on the static and animations for a soccer manager game;  the animations were supposed to be sprite driven (for more situations to show) and inspired by the then new isometric Fifa Soccer on the Megadrive to save memory, but ultimately we decided for small pre-rendered animations in a stadio-like megascreen; i also made a music for it that at the end was not used.

GIOCATORE-3_CLIP-16C Euro_League_Manager_2

Above: one of the work files, and below the final display how it looked for the soccer manager game.

Serious troubles and lockups between my accelerator and the surf squirrel i bought as second hand forced me for a pretty intensive (and money rewarding) gig to buy – for the huge (for me) amount of Five Millions of Italian lire of the time – a Power Mac Performa 6400; this however opened the door to a more steady flow of work for websites and multimedia work (mainly presentations, video animations and web sites) using Macromedia Director and the – then new Futuresplash Animator, in future known as Flash; for 3d i was still using Amiga though due to the fact that my performa was not powerful enough to work with Lightwave at a reasonable speed; so at the end had a mixed work environment, exchanging data in a rather painful slow way via serial connection and Term program.

I also had occasion to set up an exhibitions with other people living in the close city of Ostra, where we showed our works in paintings and in a slide show with pictures and animations made using Scala. It was called in italian language “Onde di luce e immagini photogeniche” – a pun using Lightwave, Imagine and Photogenics names; beside that i also held a small personal exhibition in Senigallia called “Scarabocchi Binari” – in english Binary Doodles, so now you know where the name of this blog came from.

The Fading of the Five Stars

For events not connected to Powder, however, me and Maltese had a bad discussion about a gig we were doing together and for a long while we hardly talked to each other.

Job roles, family changes (Tomas got married and had kids in example) and conflicting schedules brought Five stars to a de-facto split, not to mention Quazar disappearance.

For a better city Soundtrack and more bling – literally

Around 1995 had Thomas and Nicola complaining since a while that they were so tired of the City soundtrack that I provided them in 1990 that needed to turn off the volume when doing testing, I did try to create alternate tracks to no avail for a while, when i was not busy with other stuff: at least three different tracks were made before choosing the final one;

The alternate tracks can be found in the Powder Musics Album of my Vimeo profile once will have time to upload them.

the one with the guitar riff won – it also shows that Powder has a rock soul maybe?

Music – Powder City Level Soundtrack Definitive (1996) from simone bernacchia on Vimeo.

One of the songs rejected was instead used for the City boss.

Music – Powder City Boss soundtrack – 1996 from simone bernacchia on Vimeo.

Nicola and Filippo thought that the city level was too flat and unappealing so asked me to add some animations, including the pulse of the crane lights and the glass glare in the buildings;  i also reworked some of the posters to have a more polished look. One of the rejected one was my tribute to the OAV Genmu Senki Leda, which I tried to portray in a hypothetical sequel promotional ad.



The Rejected Genmu Senki Leda II Poster in the original workfile – using the same City 16 color palette and my now well-known justaxposition technique

Habemus Logo!

Even for the logo there has been progress: after the first phase, where i was looking for a more Psygnosis-style shape, a clearer font came out that seemed satisfying and also look good if filled. Several tests were done with different filling material, with a crater field as main candidate – also to recall the dust itself; filling on Amiga never been a problem thanks to Deluxe Paint Stencil feature.


The final font face, with the initial crater filling

Also another characteristic i wanted to add was an electric spark going through the logo: not a new idea, i did that in the past for a test Quazar logo, but now skills gave me more accuracy; i tried two blue tones,one on the navy blue the other on cobalt blue, that resulted more convincing For the inner pattern at the end we decided for a clod of dust, obtained with a furious and merciless application of the smear filter to the crater landscape and a change of palette. The logo and the initial screen graphics is at 32 colors.


The logo almost final, just with the electric spark in navy blue shades rather than cobalt blue 

The Final level, how you never heard it…

The actual incarnation of the final level has been mostly cobbled up in the latest month prior publishing, and is also using a music that was meant for the now lost Clouds mega-saucer Boss Fight, but it was meant differently, even this with an approach phase and then with the Boss fight following; at least the boss is the same, with a human size figure growing to a giant robot, Megaborg style  (that strangely has a deja-vu feeling…), but was not meant to come out from the destroyed ship, rather to wait for us and then transform, with a crescendo and then the fight.

Music – Powder – Final Theme – 1991 (Unreleased) from simone bernacchia on Vimeo.

The Approach theme

powder final boss 0004 from simone bernacchia on Vimeo.

The final Boss fight theme

…and how you heard it

I had to finish the graphic for the final level at the end: we were unable to get in touch with Maltese and so had to cobble up the background graphics and the map. For the music at the end was decided to use the music meant for the discarded Clouds boss – made by me with samples of an electric guitar played by a friend of my brother as experiment and then loved by Maltese at the time.

Music – Powder – Clouds stage boss (1993) from simone bernacchia on Vimeo.

Pity that the replay routine messes it up a bit compared on how was supposed to play, but still makes the level pretty intense!

The Powder Diaries – Service Announcement

Last month have been in my home country for three weeks, where i also dug more into my disks to retrieve more powder data and files. Pity that, due to the lack of broadband, was unable to update my blog, but now that am back am slowly filling the gap and should be able to publish the final parts of my diaries soon.

The Powder Diaries – 6 – Commodore is dead – Long Live Commodore!

I’ll fix it tonight, Raila

One day we were having one of our meetings about what to do for powder; this time looked like was Tomas itself the one behind with the schedule. So Filippo and Nicola teased him about when he was going to finish some part of the game and he was invariably answering “I’ll fix it tonight”: that become a bit of a gag for a while, also added to unrelated stuff. Tomas has been more on the playful side rather than Filppo, that usually has a more serious – almost germanic – look  even if got its own share of sarcasm; however, talking about Tomas cannot avoid to remember how he used to call the dog of Maltese Raila (was called Karen, by the way and was a mix cocker) – Rail-A is one of the first enemies of City – the orange rail vehicle with the turret on; instead, Rail- B is the grey one and Rail-C is the vehicle that takes off. The wagons for Rail-A are called Rail-D.

REAL arcade sound effects – literally

In begin of 1993 Thomas started to meddle with sound routines inspired by the seven voice routines used in Turrican and Apydia; since most of Amiga games at the time were using mostly the same sample bank for sounds, i wanted something a bit different so one day i went to the local arcade in Marotta with my stereo and started recording arcade sounds; was lucky to be there in a moment there was no people so i recorder the sound effects of the demos of three-four arcade machines including the then pretty new Konami Shooter Xexex. Don’t ask me how a hardcore shooter like Xexex came in a small town arcade, dunno.


The stage start sound of  Xexex became then the transformation sound of the M1. For the voice announcing weapon names, was provided by Sara, the sister of Thomas.

Commodore is Dead: Long Live Commodore!

Spring 1994;  Parking lot of the then called Joyland (now Auchan) in Fano. A Saturday Morning.

I remember i did just bought the latest Commodore Gazette and Amiga Magazine computer mags and was sitting in my car reading it, enjoying especially the articles and tutorials about Lightwave 3D. Then i seen the article about Commodore asset liquidation.

Was like being struck by a lightning: all of the sudden all plans for my future seemed to shatter and my know-how apparently doomed to fall in obsolescence shortly;  not only: was since long time planning to invest on a more powerful Amiga or in an AGA machine and, knowing th eeffect of the supply  and demand law, might have brought prices of the remaining available machines to raise.

Had been hard to digest.

At the moment i also hoped for Powder to be finished soon so that at least we would have seen some return.

And, to add insult to injury, the Amiga Club in pesaro was one of those targeted by a sting from the local IRS police force due to changes in the italian software piracy law; since me and the other Powder devs were not active members they did not come at our door knocking and seizing all our Amigas, but for a while i had a strong stomach ache.

The Multimedia carreer takes off

In the meanwhile, i was trying to pursue my other childhood dream: do animated shorts. The presence of the Bit.Movie and of a prize in money was a good motivator, but nothing beats the being able to do the work you dreamed of when you were a kid! In the last two years, as already told, me and Maltese participated to the 2d and 3d real-time contests with our animations; plus i did the soundtrack for several Maltese 3d animations, like Virtual Battle:

Virtual Battle – 1993 from simone bernacchia on Vimeo.

i also had occasion to do music for the opening of a local TV show and for a couple of local commercials made by Maltese with mixed techniques – one of them was also presented in Pixel Art Expo in 1995.

After my Powder animation, i got some confidence and so tried to do a full short too; to save memory I worked with an eight color palette; the story I told was called “Mobile Suit Danko” (Danko was my nickname as Graphic Artist for Quazar, while my musician nick was J.M.D. that means Jovanotti MUST Die) – with a reinterpretation of Gundam Zaku as more cartoonized figures; a friend with Hard Disk helped me assemble it from the eight disk of anim files i prepared at home, and sent it to Bit.movie the same year as virtual battle: placed eighth beside problems with the MOD player both in my animation and Maltese one (that at the end sounded better).

Mobile Suit Danko from simone bernacchia on Vimeo.

Beside that, the existence of the lighttable tool on Dpaint allowed me to experiment and started to use cel-animation;  my first work to use that was a video clip cover of a popular Vasco Rossi song at the time – called Delusa – in its Disco remix; inspired by the lyrics (talking about the girls of a then popular TV show full of girls) and the work of an artist called Cavezzali, that used to portrait naive women as geeses  (well that is the italian equivalent to the Blonde stereotype), i made my own version of the videoclip, assembled synced and recorded on U-matic tape and sent it to the contest; expecting at least to place in the first three positions (and the contest involved prizes in money, so i was hoping to get at least an AGA machine with that cash).

Delusion! the videoclip from simone bernacchia on Vimeo.

Problem was, to use the song i needed a waiver from the recording company. So i got in touch with them to get one but the manager, Mr.MoneyMaker, said that was not going to do any exception and should request for a permit with the standard fare, that was like $5,000. Considered that the first prize of the contest was just not even $1,000 i decided to re-record the animation with a soundtrack made by me using protracker. It placed tenth if i remember.

However better times were in sight.

At the Bit.movie i also had occasion to befriend some of the volunteers that were providing access to the Amigas in showcase –  some also involved in the Rimini Amiga Club – and also professionals that were using Amiga for broadcast and computer graphics work; that later included contacts with other programmer including some MatrixSoft coders that made several sports games at the time.

The Bosses that weren’t

The idea of having a separate sublevel for each boss seemed to me a good one; that meant more room for creativity and for boss graphics.

Pity that at the end, those boss levels were scrapped for time constraints: in my opinion they would have added more appeal and athmosphere to the final game.

The graphic palette between the main level and the boss level was the same, same for the player ships, keeping continuity; just the boss level was usually no more than ten screens long and with one screen only of graphic blocks.


The factory boss sublevel was supposed to have the ship enter in a giant elevator; a huge door close behind, a counter showing the elevator going down (unrealistic, I know, but pretty coreographic) then the ship go further in a huge underground hangar, crossed occasionally by electric lightning until the ship
is surrounded from a huge assembly crane.


A composite of the Factory boss

The music I create for that was quite dark and syncopate: by chance i ended using the same samples as for the Factory theme.

Music – Powder – Factory Boss Music -1992 (unreleased) from simone bernacchia on Vimeo.

The ruins boss was supposed to start with a tunnel in the temple while mines are sitting on the top; at some point the mines explodes and the ceiling is falling down: so the ship needs to avoid debris.After a while the ship reach a junkyard, where the real boss resides. The boss is a mole-like robot tower structure.


Blocks to compose the Ruins Boss level


An animation test of the tower-like mole coming out

And this was the music: to remember that the boss music as intended is made of an introductory part – while reaching the final fight – and the the boss loop; there were two exception: one is city level and the other one was clouds.

Music: Powder – Ruins Boss level (1993) [unreleased] from simone bernacchia on Vimeo.

Finally, the boss sub-level in space involved a long tunnel where several armored ships need to be destroyed and a spheric core protected by two lasers and an energy shield.



The music for the space boss came out almost techno-style, fit the environment and put in the mood; am pretty satisfied of this one.

Music – Powder – space Boss level (1993) [unreleased] from simone bernacchia on Vimeo.

Foreground Sprites

Even if they were implemented as early as 1991, the most of the foreground sprites (those elements that go in parallax in front of the ships) were mostly designed now. We were using it, possibly sparingly not to clutter too much the field of view and were sometimes made of one or two 32 X any-height three colors sprite. The most notable example of those are in the city, especially the huge dish, but also several trees in ruins;  also many of enemy bullets were sprites with their own three colors palette. Together with the lower score panel the display of those brings the contrmporary colors on screen to around 50.




Some of the sprites work files for City, Ruins and unused for Factory and Space – the katakana in the last picture was a joke in italian (done while being bored) about how Nicola would have said that sprite “Got Balls”